CSI: MIAMI
1X17: SIMPLE MAN
ORIGINAL AIR DATE ON CBS: 02/24/2003
TRANSCRIBED FROM DVD
Written by STEVEN MAEDA
Directed by GREG YAITANES
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Do not archive this transcript without permission from the Transcriptionist.
==========================
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SUMMARY: On the day Horatio is set to give testimony on a murder trial, a new
death in a similar manner uncovers a second body and the possibility of an
innocent man being tried.
==========================
CSI: MIAMI
1X17: SIMPLE MAN
==========================
COLD OPEN:
[EXT. VARIOUS OCEAN/ HARBOR (STOCK) -- DAY]
[EXT. MIAMI-DAD CITY (STOCK) - DAY]
[EXT. MIAMI-DADE COUNTY COURTHOUSE - DAY]
(A crowd of reporters sit and wait outside the County Courthouse. They spring
into action when a black sedan pulls up alongside the curb.)
REPORTERS: Look out!
REPORTERS: Move it.
REPORTERS: Councilwoman?
REPORTERS: Let's go.
REPORTERS: Councilwoman Escalante?
REPORTERS: Councilwoman.
REPORTERS: Get in there, in.
[SLOW MOTION]
(The back door opens and Councilwoman Escalante steps out of the car.)
REPORTERS: Councilwoman Escalante!
REPORTERS: Was she more than a housekeeper?
REPORTERS: Councilwoman?
REPORTERS: What was your husband's relationship with Abby Sandoval?
(Councilwoman Escalante slowly makes her way through the crowd of reporters to
the courthouse.)
REPORTERS: Relationship with Abby ... was she more than a housekeeper?
REPORTERS: Councilwoman.
REPORTERS: No comment about that.
REPORTERS: Councilwoman ...
(The Councilwoman heads up the Court stairs.)
REPORTERS: (v.o.) (echo-y) ... how will your husband's murder trial affect
your reelection campaign?
CUT TO:
[INT. MIAMI-DADE COUNTY COURTHOUSE - DAY]
(Horatio sits in a quiet area reviewing a file folder.)
(The first photo is of Lorenzo Escalante.)
(Cut to: The Second photo, Case #829376, of a dead woman in the driver's seat
of a car.)
(Cut to: The third photo is of a rumpled bed.)
WHITE FLASH TO:
[INT. BEDROOM - DAY - FLASHBACK]
(A man is on the bed with a woman and by her shouting, it's non-consensual.)
WOMAN: (screaming in Spanish) (subtitled) Stop! Let me go!
WOMAN: (screaming in Spanish) (subtitled) I'm going to tell your wife!
WHITE FLASH TO:
[INT. MIAMI-DADE COUNTY COURTHOUSE - DAY -- PRESENT]
(Horatio continues to review the photos as he remembers the case.)
(The next photo he looks at is a close-up of the dead woman in the car.)
WHITE FLASH TO:
[INT. CAR (PARKED) - NIGHT - FLASHBACK]
(The young woman gets into the driver's seat of the car. She tries to start the
engine.)
(There's a gunshot and the window shatters.)
WHITE FLASH TO:
[INT. MIAMI-DADE COUNTY COURTHOUSE - DAY -- PRESENT]
(Horatio continues to review the photos in the file folder.)
(The next photo is of a car being towed out of the water.)
WHITE FLASH TO:
[EXT. RIVER BANK - NIGHT - FLASHBACK]
(The shadowy figure of a man pushes the car over the bank and into the water.)
(The car quickly goes under.)
WHITE FLASH TO:
[INT. MIAMI-DADE COUNTY COURTHOUSE - DAY -- PRESENT]
(Horatio remembers the case.)
MAN: (o.s.) Hey, uh ...
(He looks up and sees the Bailiff turn the corner into the room. Horatio stands
up and looks at Lorenzo Escalante as he's being escorted into the courtroom.)
(The two men look at each other. Lorenzo smiles at Horatio.)
BAILIFF: (o.s.) Take your seats. Court will be in session in five minutes.
DISSOLVE TO:
[INT. MIAMI-DADE COUNTY COURTHOUSE - JUDGE DAMON ARCE'S COURTROOM -- DAY]
(Everyone takes their seats. Judge Damon Arce is sitting in his chair. The
defendant, Lorenzo Escalante, turns around.)
MERCEDES ESCALANTE: Straighten your tie.
(Lorenzo straightens his tie. He looks past Mercedes and smiles. Mercedes
turns around and looks over at Horatio.)
SPEEDLE: (whispers) Hey, Horatio, we got a problem.
HORATIO: Speed, I'm under subpoena. I'm about to testify.
SPEEDLE: You might want to reconsider that. Remember that call I rolled out on
this morning? The Jane Doe?
HORATIO: Mm-hmm.
SPEEDLE: She was familiar.
HORATIO: How familiar?
SPEEDLE: (sighs) Young, pretty Latina. Single gunshot, close range, left
temple.
(Horatio glances up at the front at Lorenzo Escalante's back.)
HORATIO: Okay.
(Horatio gets up and immediately makes the call.)
HORATIO: (to phone) Alexx, Jane Doe?
INTERCUT WITH:
[INT. CSI - FORENSICS LAB - DAY]
(Alexx is deep in the autopsy of the woman.)
ALEXX: I just got her, Horatio. I'll have results within the hour.
HORATIO: Okay, Alexx, I need something right now.
(Alexx cuts into the stomach and pulls out something green. She holds it up to
look at it.)
ALEXX: Mint leaves in her stomach. Swallowed whole. I'm guessing tox will say
they're from a mojito, just like Abby Sandoval.
HORATIO: Okay, thank you.
(Horatio hangs up, pauses for a moment, then heads for the front to talk with
Don Haffman, the Assistant State Attorney.)
HORATIO: There's a flag on the play, Don. I can't testify today.
DON HAFFMAN: Why the hell not?
HORATIO: I've got a family emergency. My grandmother's ill.
(Lorenzo Escalante turns and notes that Horatio and Assistant State Attorney are
talking. He doesn't look worried at all.)
DON HAFFMAN: You were the last nail in the coffin. That's why I've been saving
you for last.
HORATIO: I understand that, but I need more time.
DON HAFFMAN: I've got none to give you.
HORATIO: Don, I need you to make more time.
DON HAFFMAN: Your grandma better be bleeding from her eyeballs. Twenty-four
hours.
HORATIO: Okay.
(Horatio stands up and leaves.)
CUT TO:
[INT. CSI - FORENSICS LAB - DAY]
(Alexx retrieves the bullet. She holds it up looking at it when Horatio walks
in.)
HORATIO: Fastest scalp on the east.
ALEXX: I think I just set some kind of postmortem speed record.
HORATIO: Is she that similar to Abby Sandoval?
ALEXX: Like looking in the mirror.
(Quick flash of: A Young, Dark-haired Latina Woman on the table. End of flash.
Resume to present.)
ALEXX: Both victims in their early 20s. Pretty, Latina, shot once in the head,
left temple, mint leaves in the stomach, both worked with their hands. Now, I'm
thinking Jane Doe here may have been a domestic, just like Abby was.
HORATIO: She couldn't have been killed by Lorenzo Escalante, because he was in
custody at the time of her death. How are they different?
ALEXX: Abby Sandoval has glass frag in her wound track.
Not surprising since she was shot through the window of her car. Didn't find
any glass on Jane Doe.
HORATIO: Where did you find her?
ALEXX: Dumped roadside, no car.
HORATIO: Or maybe we haven't found her car yet.
ALEXX: You thinking we got a serial?
HORATIO: (shakes his head) I don't know. But we better find out before we
send an innocent man to jail for murder.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[INT. CSI - BALLISTICS LAB - SHOOTING RANGE -- DAY]
(Calleigh fires.)
(The empty shell casing falls to the floor. She fires again. The next casing
falls to the floor. She takes her earphones off.)
HORATIO: Nice shot.
(Calleigh turns around and finds Horatio standing behind her.)
CALLEIGH: Hey.
HORATIO: You busy?
CALLEIGH: Oh, I'm up to my ass in alligators. There was a big shooting on the
causeway yesterday. Fifty-four expended rounds. Not to mention, Detective
Hagen is riding me like a gulfstream park pony.
(Calleigh continues to work, barely giving Horatio her attention.)
HORATIO: John Hagen?
CALLEIGH: Yeah.
HORATIO: Hmm. (He digs in his pocket and takes something out. He lowers his
voice and leans forward.) Listen, I need a favor.
(Calleigh stops what she's doing and turns around to look at Horatio. He has
her attention now.)
CALLEIGH: Sure.
(He hands her a small container with a bullet inside. She looks at it.)
CALLEIGH: Nine mil, hollow point. It's brass-jacketed. So my guess is it's a
golden talon.
HORATIO: Here's what I need. I'd like to lift the bullet from the Abby
Sandoval case and compare it to that.
CALLEIGH: Isn't that case on trial right now?
HORATIO: Mm-hmm.
(Calleigh looks at Horatio and reads what he's not saying.)
CALLEIGH: Okay. Quickly and quietly.
HORATIO: Thank you.
(Horatio leaves. Calleigh turns around and puts the bullet on the counter.)
CUT TO:
[INT. CSI - BALLISTICS LAB - DAY]
(Calleigh walks over to the file and pulls out the drawer. She looks through
the tubes of bullets from the various cases. She closes the drawer and opens
the next drawer. She finds the bullet tube and lifts it up to look at it.)
(She blows lightly on the tub and a small puff of dust flies off the tubing.)
CUT TO:
[INT. CSI - CRIME LAB - DAY]
(Horatio meets up with Speedle.)
HORATIO: What'd you get?
SPEEDLE: Denise, the court reporter, told me that Escalante's lawyers have been
filing motions all morning.
HORATIO: It means they're moving to get the case thrown out of court, so we
have to work fast. Here you go.
(Horatio hands the evidence package to Speedle.)
HORATIO: Jane Doe's clothes? Tape it and scrape it. You know what we're
looking for, right?
(Horatio pushes the lab doors open and walks outside.)
SPEEDLE: Two fibers we found on Abby Sandoval. Worsted wool and tropical
weight.
(Horatio reaches the elevator doors and
HORATIO: Exactly right. Just like Escalante's $2,000 suits. Speed, keep me
posted.
(The elevator doors open.)
CUT TO:
[EXT. -- DAY]
(Horatio rushes out of the building and finds Delko at the parking lot putting
his bags into the back of the car.)
HORATIO: Eric.
DELKO: H.
HORATIO: Listen, sorry to bug you on your day off.
DELKO: It's not a problem. I was, uh, thinking of doing some diving anyway.
Might as well do it on the county time, huh? One question.
HORATIO: What's that?
DELKO: Speedle's Jane Doe -- she wasn't a floater. Why do you want me to bring
my dive gear to the crime scene?
HORATIO: Abby Sandoval.
DELKO: Sandoval? I thought that investigation was closed.
HORATIO: Officially it is.
DON HAFFMAN: (o.s.) Horatio?
HORATIO: (to Delko) I'll meet you out there. (to Don Haffman) Yeah?
DON HAFFMAN: How's grandma?
(Horatio walks over to Don Haffman.)
HORATIO: It's too soon to tell. Still running tests.
DON HAFFMAN: Anything you'd like to share?
HORATIO: Not just yet. Grandma likes her privacy.
DON HAFFMAN: You want to know what I really like?
HORATIO: What's that?
DON HAFFMAN: I like smoking a Monte Cristo number two after winning a slam-dunk
case. Your grandma wouldn't be trying to screw me out of a good cigar?
HORATIO: Want to make sure that we find the right guy.
DON HAFFMAN: We've got the right guy. Lorenzo Escalante. He had an affair with
the maid. He admits to getting rough with her. Got his semen inside of her,
his DNA under her fingernails.
HORATIO: Yes, Don, but we don't have the gun.
DON HAFFMAN: Look, Horatio, we're on the same side.
HORATIO: I'd like to think so.
DON HAFFMAN: Yeah, well, we are in the middle of the trial. We've already
picked the jury. We've called our experts. We spent over a million dollars in
taxpayers' money.
HORATIO: We have new evidence.
DON HAFFMAN: Yeah, well, that's what appeals are all about. Listen, this is
not about the case anymore. Now, it's about winning.
HORATIO: Well, you know what then? We're not on the same side.
(Horatio leaves Don Haffman and walks away.)
CUT TO:
[EXT. MIAMI-DADE CITY (STOCK) - DAY]
[EXT. ROAD -- DAY]
(Horatio stops the car and exits. Det. Adell Sevilla turns and sees him. She
goes to meet him.)
ADELL SEVILLA: H.
HORATIO: What do we got?
ADELL SEVILLA: Park Ranger found our Jane Doe on the side of the road.
HORATIO: Okay.
(They walk over to the scene. He looks down and sees some blood on the road.)
HORATIO: Here we go. All right. Well, she wasn't killed here. There's not
enough blood for a head shot, right?
ADELL SEVILLA: Yeah. She could have been dumped. I've got a couple of guys on
the road preserving some tread marks.
HORATIO: Okay. Eric?
(Delko snaps a photo.)
DELKO: Check this out.
(Horatio walks over to him.)
HORATIO: All right, blood trail. (shouts) Adell, pull your men off the road.
We're going to expand the crime scene.
(He kneels down and sees the finger grip prints in the dirt.)
HORATIO: She crawled to here ... probably rested for a moment ... losing a lot
of blood...
(Quick flashback to: [NIGHT] The victim half-crawls, half-drags herself along
the road.)
HORATIO: (v.o.) ... continued to travel ... and somehow got up.
(The victim gets to her feet.)
(End of flashback. Resume to present.)
HORATIO: (points) Fell again right here.
(Quick flashback to: [NIGHT] The victim falls back to the ground. End of
flashback. Resume to present.)
(Horatio and Eric follow the marks on the road all the way toward the nearby
canal.)
HORATIO: Wait a minute.
(Horatio takes his glasses off for a better look.)
HORATIO: Is that a shadow right there?
(Delko leans forward for a better look also.)
DELKO: That's definitely a car. Looks like a compact. Never turtled. The
water's too shallow.
HORATIO: So, she crawled from here all the way to the road.
DELKO: (sighs) A quarter of a mile on her belly, with a nine-millimeter round
in her head. All for nothing.
HORATIO: Not if we can help it.
(Horatio puts his sunglasses back on.)
FADE OUT.
FADE IN.
[EXT. CANAL -- DAY]
(They tow the car out from the canal.)
VOICE: (o.s.) All right! Move it!
[LATER]
(Once the car is towed out of the canal, Horatio looks at the bullet hole
through the driver's window.)
HORATIO: The window's spider-webbed.
(Delko peers in through the passenger side.)
DELKO: Could have shattered when Jane Doe got shot, just like Abby Sandoval.
HORATIO: The difference is, Jane Doe had no glass in her wound.
(Horatio opens the driver's door.)
DELKO: I'll SPR the steering wheel, see if we can lift a print give her a name.
HORATIO: You know what? Don't bother.
(Horatio picks up a handbag from the floor.)
HORATIO: I got her purse here.
DELKO: Any I.D.?
HORATIO: Hang on.
(He looks inside.)
HORATIO: There's no driver's license, but here's a check-cashing card. "Bonita
Cruz, Southwest Tenth Street."
DELKO: It's a couple of blocks from my folks. Abby Sandoval lived in the same
neighborhood.
HORATIO: She did. Southwest 14th street, right?
DELKO: Yeah, I know a lot of girls like that. They come from Cuba, Honduras,
Nicaragua looking for a better life. They wind up cleaning toilets in Bal
Harbour.
HORATIO: It's the "invisible ones."
DELKO: Perfect victims. No one gives them a second look.
HORATIO: Somebody gave this one a second look.
DELKO: Whoop. (Delko finds a bullet casing.) Someone also left us a present.
HORATIO: Let's bag that.
(Horatio picks up a stone off the ground.)
HORATIO: Eric, you used to play right field for the 'canes, right? See how far
you can throw that.
(He tosses the stone to Delko; he catches it. He tosses the stone into the
canal as far as he can.)
HORATIO: Nice throw. Okay, here's what we need to do. Let's set a grid from
the car to where the rock landed.
DELKO: In case the guy tossed the gun.
HORATIO: Yup. Keep in touch.
(Horatio leaves.)
CUT TO:
[SCOPE VIEW]
(Close-up of two halves of two bullets.)
[INT. CSI - BALLISTICS LAB - DAY]
(Calleigh is looking through the scope when the door opens. Det. John Hagen
walks into the lab.)
JOHN HAGEN: Duquesne.
CALLEIGH: Detective Hagen.
JOHN HAGEN: You got my results?
CALLEIGH: Not since you called me an hour ago.
JOHN HAGEN: You told me you'd have it done this morning.
CALLEIGH: John, I have got fifty-four rounds, and your being down here isn't
going to help me solve it any faster.
JOHN HAGEN: Am I bothering you here in your nice, air-conditioned crime lab,
'cause I'm sweating my butt off trying to get my causeway shooter into
arraignment.
CALLEIGH: All right. Your personal hygiene aside, I'm really sorry. Something
came up, and I got backed up.
JOHN HAGEN: What kind of something?
CALLEIGH: I can't tell you, but I promise you as soon as I get this other thing
off my scope I will finish yours.
JOHN HAGEN: Whatever it is better be big.
CALLEIGH: It's the biggest.
JOHN HAGEN: Big like Abby Sandoval? I heard about what happened in court this
morning. Word is Horatio really stepped in it.
CALLEIGH: We'll get your shooter. I just need you to give me some time.
JOHN HAGEN: I can't hold him past noon.
CALLEIGH: Cut him loose. Rearrest him again tomorrow.
JOHN HAGEN: What if he skips?
CALLEIGH: Put a radio car on him. I don't know, John. I have to do it.
JOHN HAGEN: I hope Horatio knows what he's doing.
CALLEIGH: He's been doing it a long time.
JOHN HAGEN: Hope he gets to keep doing it.
(Det. Hagen turns and leaves the lab.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Horatio removes something off of the bag. He looks at it as Speedle walks in.)
SPEEDLE: Hey.
HORATIO: Hey.
SPEEDLE: I found a whole bunch of fibers on Bonita Cruz's dress.
HORATIO: You get a match?
SPEEDLE: Yeah. Tropical weight worsted wool. Same like the two we pulled off
of Abby Sandoval. I hate to say it, but I think we've got the wrong guy in
custody.
HORATIO: Okay, but you just said you got multiple fibers off Bonita's dress.
SPEEDLE: Over fifty.
HORATIO: You got two off Abby's. That doesn't track.
SPEEDLE: Neither does a serial killer who wears $2,000 suits and kills maids.
HORATIO: Unless he's not a serial. I think I figured out how he picks his
victims. Take a look at this.
SPEEDLE: Did you get something off the purse?
HORATIO: Yeah. Take a look.
(Speedle walks over to Horatio and looks at the piece of paper.)
SPEEDLE: Looks like newsprint. The ink's way too degraded to read.
HORATIO: Okay, let's look deeper.
[INT. CSI - LAB -- LATER]
(Horatio and Speedle freeze dry the paper using the Freeze Dry System / Freezone
4.5.)
(Quick CGI POV to: The paper in the glass jar is frozen. End of CGI POV.
Resume to present.)
SPEEDLE: Freeze-drying.
HORATIO: It's a way to remove the water without damaging the paper.
(Speedle removes the glass from the System Machine.)
HORATIO: Ready?
(They take it over to the next table. Speedle removes the piece of paper. He
places it in the plastic bag and puts it in the machine where he can look at the
enhanced paper through different colored filters.)
(Speedle tries different color lights.)
HORATIO: Now try green with an IR filter.
(The ad appears:
900 EMPLEOS DOMESTICOS
Externa 5 dias. Refen.
$300. sem.
305-555-0179
-----
$350 sem. A. Llav-- )
SPEEDLE: (reads) "Empleos domesticos." (sighs) These are ads for
housekeepers.
HORATIO: Mm-hmm. From a cuban newspaper. Diarios Las Americas.
SPEEDLE: So, Bonita Cruz was looking for a job.
HORATIO: Yeah.
SPEEDLE: You want me to take this?
(Horatio looks up and sees the elevator doors open. Det. Yelina Salas exits the
elevator and walks out into the hallway. She stops and sees him.)
HORATIO: Uh, no, I'll take it. You find Eric.
[INT. CSI - HALLWAY - DAY - CONTINUOUS]
(Horatio steps out into the hallway.)
HORATIO: Yelina.
DET. YELINA SALAS: Horatio.
HORATIO: I heard about the surfside triple. Nice going.
DET. YELINA SALAS: Well, thank you. Just came to pick up the final labs.
HORATIO: Okay, let me walk you.
DET. YELINA SALAS: Okay.
(They start walking down the hallway.)
HORATIO: Sorry about dinner. We've been really backlogged.
DET. YELINA SALAS: Yeah, I heard. Seems like a lot of cases are been moved to
the back burner lately.
HORATIO: Call the city council and send me more criminalists.
DET. YELINA SALAS: Let's talk about Abby Sandoval instead.
HORATIO: What about her?
DET. YELINA SALAS: Don't, okay? Word around the department is you've reopened
the case.
HORATIO: Mmm, word travels fast.
DET. YELINA SALAS: This is Miami. There are no secrets, Horatio.
HORATIO: I have some concerns about the case.
DET. YELINA SALAS: Yeah. We've had this conversation before.
HORATIO: Well, then you know how it ends.
DET. YELINA SALAS: How long are we going to keep dancing around in circles?
HORATIO: I don't know. Someday we have to talk about that, don't we?
DET. YELINA SALAS: Yeah. Someday. (They reach the lab and stop walking.) Just
be careful, Horatio.
HORATIO: If I did that, it would take all the fun out of it.
(He turns and walks away.)
HORATIO: I'll call you.
CUT TO:
[EXT. MIAMI-DADE CITY LIGHTS (STOCK) - NIGHT]
[INT. DIARIOS LAS AMERICAS - BULLPEN - NIGHT]
(Horatio meets Det. Adell Sevilla in the bullpen.)
HORATIO: Any trouble?
ADELL SEVILLA: Hey. Editor gave the usual first amendment defense.
HORATIO: How'd you flip him?
ADELL SEVILLA: I know the publisher.
HORATIO: Hm-hm-hmm. Any matches?
ADELL SEVILLA: Not yet, unless you're interested in meeting a 300-pound
transvestite.
(Horatio's phone rings.)
HORATIO: I'll pass. Hang on a second.
(He turns and answers his phone.)
HORATIO: (to phone) Horatio.
INTERCUT WITH:
[EXT. CANAL - NIGHT]
(Speedle is standing in the boat and is on the phone.)
SPEEDLE: (to phone) Hey, it's Speed. We came up empty on the canal.
HORATIO: (to phone) So, no gun?
SPEEDLE: (to phone) Actually, Delko found three guns and a washing machine,
but, uh, no nine mils.
(From what we see, Delko is still in the water looking for the gun.)
HORATIO: (to phone) Any chance that he missed it?
SPEEDLE: Let me ask him.
HORATIO: Any chance you could have missed it?
DELKO: It's pretty murky down there. We did a hand-over-hand rigid-grid search
100 yards downstream.
SPEEDLE: (to phone) You get that? Uh-huh. (pause) All right, I'll tell him.
(Speedle hangs up.)
DELKO: What did he say?
SPEEDLE: "Throw another rock." What does that mean?
DELKO: It means we got a long night ahead of us.
VARIOUS FLASHES BETWEEN THE TWO SCENES:
(Back in the DIARIOS LAS AMERICAS Bullpen, Horatio opens up the "Anuncios
Clasificados". Adell Sevilla walks up to him.)
(At the canal, more divers search under the water.)
(Underwater view of the divers with their flashlights headed for the bottom of
the canal to search for the gun.)
(At the Cuban Newspaper, Horatio settles in the cubicle and manually compares
the sample slip of paper with the Classified Ads.)
(Cut back to: The divers grid the area they're going to search. Several pipes
in the shape of a square is taken down into the water.)
(Speedle stands above water in the boat using his flashlight to look around.)
(Underwater, the divers search the bottom.)
(At the Cuban Newspaper, Horatio and Adell Sevilla continue to look through the
Classified Ads.)
(Horatio puts another stack of paper down on the desk. He picks up a sample of
the ad and manually compares it to the newspaper.)
(Under the water, the divers continue to search the bottom.)
(Adell carries a stack of papers to her cubicle to look through.)
(Cut to: The Divers search the bottom of the canal.)
(Adell and Horatio search through classifieds.)
(Horatio finds the full ad for one of the small pieces.)
(Under the water, the divers find a gun. They look at it. The divers head for
the surface.)
(They break surface and carry the gun over to Speedle in the boat. He takes the
gun from them and places it in a bag.)
CUT TO:
[INT. DIARIOS LAS AMERICAS - BULLPEN - NIGHT]
(Adell has one of the ads circled. It reads:
Se busca una Sra.
Hanpieza. 5 dias de la
semana. Lavar ropa y
limpieza gener-
$600.00 par semana.
305-555-0156
ADELL SEVILLA: Okay, looks like Bonita Cruz circled three ads for domestic
work.
HORATIO: Any stand out?
ADELL SEVILLA: Yeah, this one. 600 bucks a week. Rates have gone up.
HORATIO: Okay, seems like a good place to start.
CUT TO:
[INT. DIARIOS LAS AMERICAS - FILE ROOM - NIGHT]
(A clerk goes through the file cabinets while Horatio and Adell Sevilla wait.)
ADELL SEVILLA: The number listed in the ad doesn't answer, but the prefix
strikes me as one of those prepaid cell phones. Use it, toss it, you can't
trace it.
CLERK: Looks like that ad you're looking for was a mail-in.
(He hands the information sheet to Horatio.)
HORATIO: Printed on your basic laser jet, huh?
(Adell nods.)
HORATIO: (to the clerk) Do you have the envelopes these come in?
CLERK: Yeah.
(The clerk hands the envelope to Horatio.)
HORATIO: We've got mail.
(The envelope is addressed to:
DIARIO LAS AMERICAS
2900 NW 39 Street
Miami, FL 33142
ADELL SEVILLA: There's no return address.
HORATIO: But that's a postal code right there.
(Camera zooms into the postal code: MB323817116.)
(Camera zooms back out and we find that we are now ...
[EXT. OUTSIDE THE MIAMI-DADE COUNTY COUNCIL DISTRICT 14 BUILDING - DAY]
(Horatio is holding the envelope up. He puts the envelope down. He and Adell
stand in front of the CSI vehicle.
(They watch as the black car pulls up along side the curb. Mercedes Escalante
and her aides exit the car.)
MERCEDES ESCALANTE: You guys, we need to talk. (to Carl Galaz.) Did you see
this? Did you see this?
HORATIO: Councilwoman Mercedes Escalante.
(They watch as the Councilwoman heads into the building.)
ADELL SEVILLA: You don't think she had anything to do with it?
HORAITO: I don't know. Let's find out.
FADE OUT.
FADE IN.
[INT. MIAMI-DADE COUNTY COUNCIL DISTRICT 14 BUILDING - ESCALANTE'S OFFICE --
DAY]
(Horatio and Adell Sevilla walk into the office. )
HORATIO: Good morning.
(Carl Galaz hangs the phone up and walks over to them.)
CARL GALAZ: Good morning. I'm Carl Galaz. I'm Special Assistant to the
Councilwoman. How can we assist Miami's finest today, hmm?
HORATIO: Here's what we need, Carl. I need to know who has access to your
office machines.
CARL GALAZ: Well, that's everyone in this office. We have six staffers and
about a dozen interns. What's this about?
HORATIO: Two things. I'm going to need a list of those names, and I'm going to
need to take the machines to my lab.
CARL GALAZ: Hmm. Oh, afraid we can't do that. Not without our lawyers
present.
HORATIO: You want to make that call, please?
MERCEDES ESCALANTE: (o.s.) Actually, it's my call.
(Horatio turns around to greet Mercedes Escalante.)
MERCEDES ESCALANTE: Lieutenant Caine. Mercedes Escalante. I have followed
your career for many years.
HORATIO: Likewise, Councilwoman.
MERCEDES ESCALANTE: You will have our full cooperation. The sooner we can get
to the truth, the sooner my husband can come home to his family. Please take
anything you need and we'll be happy to supply you with a list of everyone that
has worked in the office for the past twelve months. Carl?
(Carl takes out his notepad and rips out a list already prepared. He gives it
to Horatio. He takes it and looks at it.)
HORATIO: This is very generous of you.
MERCEDES ESCALANTE: Oh, well, we're really looking forward to putting all of
this behind us, Lieutenant.
HORATIO: Um ... would you give us a second?
MERCEDES ESCALANTE: Oh, absolutely.
HORATIO: Thank you, Carl. Adelle.
(Horatio steps away.)
ADELL SEVILLA: Be right there.
(Adell follows him.)
[INT. MIAMI-DADE COUNTY COUNCIL DISTRICT 14 BUILDING - LOBBY - DAY --
CONTINUOUS]
(Horatio talks with Adell.)
HORATIO: The Councilwoman knew we were coming.
ADELL SEVILLA: It's not what you think.
HORATIO: What do I think?
ADELL SEVILLA: I know Mercedes, since we were kids at San Juan Bosco but she
runs the community and when I need information, she gives it to me.
HORATIO: One hand washes the other.
ADELL SEVILLA: Together they wash the face. Come on, H., You know that's the
way things get done here in Miami.
HORATIO: I understand that, Adell.
ADELL SEVILLA: H., It was a courtesy heads-up, nothing more. Nothing more than
I would have done in any other knock-and-talk.
HORATIO: Okay. Let's not give her any more help, all right?
ADELL SEVILLA: Okay.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Delko walks into the hallway when Calleigh catches up with him.)
CALLEIGH: Hey, where's that pistol?
DELKO: Uh, I checked it into evidence a couple hours ago. What are you talking
about?
CALLEIGH: You mean it's just been sitting there?
DELKO: Yeah, I paged you and you never answered.
CALLEIGH: (groans as she remembers) I turned my pager off when I was on the
range.
DELKO: I tried to get in touch with you.
CALLEIGH: I've been chained at the lab with a 54-round shooting that was
supposed to be processed twelve hours ago.
DELKO: Yeah, well I spent the same twelve hours inhaling sewage at the bottom
of the Tamiami Canal, so everyone's got a sad story.
(Already stressed, Calleigh takes a moment and grabs Delko's arms with her hands
to stop him. She takes a deep breath and sincerely apologizes.)
CALLEIGH: I'm sorry.
DELKO: Me, too.
CALLEIGH: (sighs) Okay.
(Calleigh turns and leaves.)
CUT TO:
[INT. CSI - LAB -- DAY]
(Horatio is in the lab when Calleigh and Delko walk into the room.)
HORATIO: We're due in court in two hours, is there any way to link these two?
CALLEIGH: Not with the bullets alone. (She points to the photos of the bullets
that Horatio was looking at.) The rifling on Abby's bullet is good, but
Bonita's is damaged. But there's no way to match this to Abby or the gun, but
there might be another way.
DELKO: Cartridge casing we found in Bonita's car.
CALLEIGH: Exactly. So if I can get a test-fire on the pistol, then I get match
the rifling on Abby's bullet to the firing-pin impression of Bonita's casing.
(She puts the photo of the casing up on the board.)
HORATIO: The gun is the key.
CALLEIGH: Without it we've got nothing.
HORATIO: We've got to get it. The clock is ticking.
(Horatio turns and leaves.)
CUT TO:
[INT. CSI - BALLISTICS LAB - FIRING RANGE - DAY]
(Calleigh cocks the gun and prepares to fire. Delko stands behind her,
watching.)
(The gun misfires.)
CALLEIGH: Misfire.
(Calleigh tries again. Again, the gun misfires.)
CALLEIGH: Okay, we've got a problem.
DELKO: Can't get a test-fire.
CALLEIGH: Not with this weapon and not in the amount of time we have left.
DELKO: What's your Plan B?
CALLEIGH: Gun vault.
HARD CUT TO BLACK.
[INT. CSI - GUN VAULT - DAY]
(Calleigh opens the door and walks into the gun vault. She looks at the guns
and pauses for a moment.)
CALLEIGH: Be still my heart.
(Calleigh walsk up to the weapon she needs, picks it up, checks it and walks
out.)
(She turns the lights out as she goes.)
HARD CUT TO BLACK.
[INT. CSI - BALLISTICS LAB - DAY]
(Calleigh takes the gun vault gun apart.)
(She takes the testing gun apart.)
(She switches the damaged parts.)
(She puts the testing gun back together. She cocks the weapon.)
[INT. CSI - BALLISTICS LAB - FIRING RANGE - DAY]
(Calleigh fires the gun several times. She puts the gun down. She takes off
her ear phones and goggles.)
CUT TO:
[EXT. DADE-MIAMI CITY (STOCK) - DAY]
[INT. MIAMI-DADE COUNTY COURTHOUSE - DAY]
(Horatio sits in a quiet area.)
CALLEIGH: (o.s.) Hey.
(Horatio gets to his feet when Calleigh walks in.)
HORATIO: How'd we do?
CALLEIGH: I did a mix and match from the vault and finally got a test-fire.
HORATIO: Bottom line?
(She hands him the file.)
CALLEIGH: Bonita Cruz and Abby Sandoval were killed by the same weapon.
HORATIO: We got a match.
CALLEIGH: We got a match.
(Horatio takes the file and is already leaving.)
HORATIO: Excellent. Nice going.
CALLEIGH: (sighs) Thank you.
(Calleigh takes a moment, then turns and leaves.)
CUT TO:
[INT. MIAMI-DADE COUNTY COURTHOUSE - JUDGE DAMON ARCE'S COURTROOM -- DAY]
(The Judge confers with both lawyers.)
(Horatio sits in a quiet area reviewing a file folder.)
JUDGE DAMON ARCE: Based on what I was just given, this is pretty much a
bombshell, so ... I'm going to rule on it now. Please step back.
(Both lawyers step back to take their seats. Lorenzo Escalante turns to look at
Mercedes.)
(Horatio sits in the back, thinking, as the Judge makes the only ruling he can
given the evidence.)
JUDGE DAMON ARCE: It has come to my attention that the crime lab has uncovered
new evidence in this case. Evidence of an exculpatory nature to the defendant.
As such, defense counsel has moved for a mistrial. So granted. This court is
adjourned.
(The gavel bangs.)
(Horatio glances forward at Don Haffman who stands up and immediately heads for
him.)
DON HAFFMAN: Horatio, I'm not going to take the fall with you on this one, I
warned you.
(In the back, Lorenzo hugs Mercedes.)
HORATIO: It's not an acquittal. It's a mistrial. You can re-file.
DON HAFFMAN: You got the extra million bucks for the new trial?
HORATIO: I'm about to bring you two defendants.
DON HAFFMAN: (doubtfully) Yeah, you do that.
(Horatio turns and looks at Mercedes. She looks directly at him as her husband
kisses her on the cheek.)
(She smiles at him. Horatio doesn't smile back.)
CUT TO:
[TELEVISION MONITOR]
(The set is on Channel 3 WORY, reporting live with Breaking News.)
NEWS REPORTER: (from tv) In a stunning setback for the Miami-Dade Crime Lab,
and the State Attorney's office, Real Estate Developer Lorenzo Escalante was
released today after a mistrial was declared in the Abby Sandoval ...
[INT. CSI - BREAKROOM - DAY]
(On the television monitor in the background, Lorenzo and Mercedes exit the
courthouse. Calleigh, Delko and Speedle sit in the lounge watching the
broadcast.)
DELKO: I can't believe we're letting this jackass walk.
SPEEDLE: I hope H knows what he's doing.
DELKO: You know what they say, no guts, no glory. What else could we do if you
want to catch the killer?
SPEEDLE: Yeah, killers.
DELKO: Okay, well, say there's two killers. How do you explain the same
fibers, the same murder weapon, same taste for mojitos?
SPEEDLE: Apples and oranges. We got two fibers you find on Abby, but over
fifty on Bonita. Abby's killer keeps the gun, Bonita's tosses it in the canal.
DELKO: Okay, how did the second killer get their hands on the gun from the
first murder?
SPEEDLE: You talking about the apple or the orange?
CALLEIGH: Oh, dear god, I'm hungry.
(Unknown to them, Horatio walks into the room and listens.)
SPEEDLE: I'm just saying there's two killers out there.
DELKO: Okay, and the second killer couldn't possibly have all the details from
the first murder.
HORATIO: Maybe he did. Maybe he did have the details and that would make him a
copycat, wouldn't it?
(They turn and look at him.)
HORATIO: Ready?
(Horatio turns and leaves.)
CUT TO:
[INT. CSI - WAREHOUSE -- DAY]
(Speedle and Delko uncover Bonita Cruz's car. The entire team is in the
warehouse.)
HORATIO: So I'm a copycat and I want to make Bonita Cruz look like my second
victim. I've selected Bonita because she is almost identical to Abby Sandoval.
SPEEDLE: So you place a want ad for a young Latina housekeeper. You offer top
salary. You buy a disposable cell phone so you can't be traced.
(Quick flashback to: A bill is pushed across he table. A cell phone and car
keys are grabbed off the table. End of flashback. Resume to present.)
CALLEIGH: And like Abby, she has to be pretty, so you meet her in person,
someplace public so she doesn't get spooked.
DELKO: And when you meet Bonita Cruz, you know you have your victim.
(Quick flashback to: [NIGHT] Bonita Cruz smiles. End of flashback. Resume to
present.)
HORATIO: Right, so you hire Bonita. You follow her. You pull her over, and
then you shoot her.
CALLEIGH: With the gun you've procured from your first murder.
SPEEDLE: Then you plant the fibers.
DELKO: Push the car into the canal.
CALLEIGH: And throw the gun in for us to find.
HORATIO: Let's prove that.
(Horatio looks through the bullet-hole in the driver's side glass.)
HORATIO: Alexx ... how tall was Bonita Cruz?
ALEXX: About five six.
HORATIO: And her wound track?
ALEXX: Left to right, angle is downward an inch below the hairline.
HORATIO: Show me.
(Alexx walks up to the car. Inside the car behind the wheel is a dummy. She
tries to line the bullet hole in the glass with the dummy's head.)
ALEXX: They don't line up.
HORATIO: Here's why. The shot that killed Bonita Cruz did not go through this
window. (Horatio uses his hand, his index finger extended. He points near the
dummy's head.) Bang to the temple. (He moves downward and points at the bullet
hole in the window.) Bang through the window.
DELKO: There were two shots.
HORATIO: There were two shots.
(In the meantime, Calleigh digs out another cartridge from the passenger-side
door. She holds it up.)
CALLEIGH: Another nine mil.
HORATIO: There you have it.
(Quick flashback to: [NIGHT] Bonita Cruz sits in her car behind the wheel.
She rolls down the window as she starts her car. When it's down, the killer
walks up and shoots her. End of flashback. Resume to present.)
(Calleigh walks over to the side near Speedle.)
CALLEIGH: That means the killer copied everything down to the smallest detail
including shooting out the driver-side window.
SPEEDLE: You can't plan detail because events are random. They can never be
perfectly recreated.
DELKO: One thing he didn't count on was her rolling down the window.
(Quick flashback to: [NIGHT] The killer has to roll the window back up. He
closes the car door, repositions himself and fires another bullet through the
window. End of flashback. Resume to present.)
HORATIO: We know of two people that directly benefit from the existence of
Bonita Cruz, right?
SPEEDLE: Lorenzo Escalante. Guy has motive, he's got connections, so he hires
a guy.
CALLEIGH: Well, it doesn't have to be a guy. Women commit 17% of all homicides
and being connected to a murder conviction could ruin your political career.
SPEEDLE: You're still thinking it's the wife? It seems out of character.
DELKO: What I hear, she used to run with a pretty rough crowd.
HORATIO: She campaigned on it, but we still have to put her outside this car.
(Adell walks into the warehouse.)
ADELL SEVILLA: Horatio. I have someone you should meet.
CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(A young, dark-haired Latina woman sits in the room.)
ADELL SEVILLA: She claims she's more comfortable in Spanish. This is Carmen
Abregon. She's one of those 43 women we tracked down via cell phone records.
She responded to that ad in the Diario.
HORATIO: Okay.
ADELL SEVILLA: (in Spanish) (subtitled) Carmen, this is Detective Caine. He
will be present during this interview.
(Carmen Abregon looks down, but doesn't protest. Adell sits down at the table.)
ADELL SEVILLA: (in Spanish) (subtitled) Carmen, were you able to speak
directly with the person who placed this ad?
CARMEN ABREGON: (in Spanish) (subtitled) Yes. When I met him.
HORATIO: El Hombre?
CARMEN ABREGON: (nods) Si.
ADELL SEVILLA: (in Spanish) (subtitled) You talked to a man? Where did you
meet?
CARMEN ABREGON: (in Spanish) (subtitled) At a diner. Just off Highway 41.
The job sounded good, but ... He gave me a bad feeling.
HORATIO: Bad feeling? Por que?
CARMEN ABREGON: (in Spanish) (subtitled) He was wearing gloves. In Miami?
Then he says he wants to have a drink with me. To celebrate getting the job.
ADELL SEVILLA: (in Spanish) (subtitled) Can you tell me what his choice of
drink was?
CARMEN ABREGON: Mojitos.
HORATIO: Mojitos. Carmen, do you remember what the man looked like?
(Carmen nods.)
SHORT TIME CUT TO:
[INT. CSI - INTERVIEW ROOM - DAY]
(A computer sketch artists has a laptop in the interview room as Carmen Abregon
describes the man.)
(Outside the interview room, Horatio looks in. Carmen turns and looks at him.
He's thinking.)
CUT TO:
[INT. CSI - LAB - DAY]
(Adell walks up to Horatio.)
ADELL SEVILLA: Hey, what's up?
HORATIO: You still got that list Galaz gave us?
ADELL SEVILLA: Yeah, it's ... (She takes the envelope out from the file folder
she's carrying.) ... right here.
(Horatio takes the envelope and walks out of the lab.)
HORATIO: I think I've got an idea. I think I've got an idea.
(He passes Speedle.)
HORATIO: Speed, see what else you can do with this.
SPEEDLE: Will do.
ADELL SEVILLA: It's just a list.
HORATIO: Actually, it may be much more.
(They walk out of camera frame.)
CUT TO:
[INT. CSI - Q.D. LAB - DAY]
(Speedle works on the yellow legal paper.)
HORATIO: (v.o.) Writing on a notepad leaves indentations on the pages beneath.
(Speedle mounts the paper on the machine. Just for the record, the list on the
paper reads:
1. A. DULUCA / (305) 555-0100
2. M. GARCIA / (305) 555-0127
3. F. JUSTO / (786) 555-0175
4. D. LOBO / (305) 555-0133
5. M. PERERA / (305) 555-0111
6. E. RIVERO / (786) 555-0142
7. H. SALINAS / (786) 555-0161
8. G. TORREZ / (786) 555-0164
9. O. GUTIERREZ / (786) 555-0196
10. A. CASIANO / (305) 555-0128
11. J. AVUERIA / (305) 555-0189
12. C. DIEZ / (786) 555-0167
13. R. FALINO / (305) 555-0149
14. M. MEDEIROS / (305) 555-0114
15. T. PEREZ / (305) 555-0151
HORATIO: (v.o.) We should be able to see what was written up to seven layers
above.
(Speedle scans the document into the computer.)
INTERCUT WITH:
[INT. CSI - INTERVIEW ROOM - DAY]
(Carmen Abregon works with the sketch artist.)
CARMEN ABREGON: (in Spanish) (untranslated)
(She continues to describe the man to the sketch artist.)
[INT. CSI - Q.D. LAB - DAY]
(Speedle sprinkles a powder on the document to bring out the impressions.)
(He takes the camera and snaps a photo of the writng.
[INT. CSI - INTERVIEW ROOM - DAY]
(Carmen Abregon waits.)
(The door opens; Horatio and Adell Sevilla walk in.)
HORATIO: How'd we do?
(He looks a the computer sketch and smiles at Carmen. He turns the laptop
around to show her.)
HORATIO: See anybody you know?
ADELL SEVILLA: Carl Galaz. Escalante's handler.
HORATIO: Let's see how Carl handles this.
FADE OUT.
FADE IN.
[EXT - DAY]
(Carl Galaz walks to work. Adell stops him.)
ADELL SEVILLA: Carl Galaz, you're under arrest for the murder of Bonita Cruz.
(An officer steps forward and removes the suitcase from Carl Galaz's hands while
a second officer moves forward to handcuff him.)
CARL GALAZ: You know what you just did? Your career is over. When I'm through
with you, you're going to be doing time cards at county lockup.
(Horatio stands on the side and dials his phone.)
(The phone in Carl Galaz's suitcase rings. Horatio closes his phone.)
HORATIO: Still got the phone, Carl. You still have the phone.
(The phone continues to ring. Adell picks up the suitcase and opens it. She
takes the disposable cell phone out and checks it.)
ADELL SEVILLA: You've got seven dollars of call time left, Carl.
HORATIO: Seven dollars in exchange for the rest of your life. Take him.
(The officers, Carl and Adell leave. Horatio watches them go. After they pass,
Horatio has a clear view of the campaign posters on the wall for Mercedes
Escalante.)
CUT TO:
[INT. CSI - INTERVIEW ROOM -- DAY]
(Horatio and Adell interview Carl Galaz with his lawyer.)
HORATIO: Carl, I think I understand what's going on here. You killed Bonita
Cruz to get Lorenzo off the hook for murder. I understand that part. What I'm
curious about is whose gun was it?
CARL GALAZ: It was my gun.
WELL MANICURED ATTORNEY: I have advised my client not to speak further. I want
that on the record.
HORATIO: Counselor, I'll get you a copy. How would that be? Carl, you are
about to take the fall. Now, is that what this is?
CARL GALAZ: I killed them. I killed them both.
HORATIO: Why, Carl, are you protecting the Escalantes?
CARL GALAZ: The Escalantes gave me their trust and their friendship. They gave
me respect. Now I owe them everything.
HORATIO: This is your last chance. You can either ride their coattails or you
can ride mine. You decide.
(Carl hesitates.)
HORATIO: Carl ...
CARL GALAZ: I killed them.
HORATIO: All right.
(Horatio stands up and walks out of the room.)
CUT TO:
[INT. CSI - HALLWAY - DAY - CONTINUOUS]
(Horatio paces the hallway floor as he thinks. Behind him, Mercedes Escalante
walks toward him.)
MERCEDES ESCALANTE: Lieutenant ... Lieutenant Caine.
(Horatio stops and turns around.)
MERCEDES ESCALANTE: I just wanted to thank you for all your hard work on behalf
of the city. You can't imagine how shocked we all are to learn about Carl.
HORATIO: Councilwoman, I'm certain this has been a very difficult period for
you.
MERCEDES ESCALANTE: I also wanted to thank you as a ... as a wife -- for
clearing my husband. If there's anything I can ever do for you, for your
aspirations ...
HORATIO: Right now, councilwoman, my only aspiration is to find out who killed
these women. So don't thank me yet. I'm not done.
(Horatio turns and leaves Mercedes Escalante with that thought.)
CUT TO:
[INT. CSI - LAB - DAY]
(Horatio walks into the lab where Speedle is still working on the list.)
HORATIO: How we doing on the employee list?
(On the monitor, Speedle was studying the document. Each layer has been color
coded. One by one, he strips the layers.)
SPEEDLE: It matches the handwriting sample from Carl Galaz. It was pretty
messy and overlapping, but I measured the stroke depth and I managed to isolate
the layers. There were seven pages in all, dating back week by week. We get to
the fifth week, he writes a to-do list.
(The Orange layer reads:
TO DO
1. GET THREADS FROM SUIT
2. CUT OUT ARTICLES
3. PAY FOR AD - 1 WEEK
4. BUY PREPAID CELL PHONE (CASH)
5. CLEAN GUN
6. THROW AWAY GLOVES
7. CHECK NEWS PER STORY
SPEEDLE: "Buy gloves, clean gun, disposable cell phone."
HORATIO: To-do list. He's not the first to do that, but it doesn't confirm who
killed Abby Sandoval, does it?
(Speedle puts up the "Blue" list.)
SPEEDLE: No, but that's why I went back to the second week, and "barbecue."
(On the bottom right corner is the following circled: BBQ 7A3D.)
SPEEDLE: I'm thinking that's not a lunch order.
(He enlarges the note.)
HORATIO: And it's not Galaz's handwriting.
SPEEDLE: No, it's not. But guess whose it is.
(Speedle puts up a scanned document.)
SPEEDLE: I got this from public records. A city lease drafted by ... Lorenzo
Escalante.
HORATIO: Lorenzo ... you're about to lose your lease.
CUT TO:
[INT. CSI - HALLWAY - DAY]
(Calleigh walks through the hallway when she finds Det. John Hagen.)
CALLEIGH: John! I got the results for your causeway shooter. It matches
across the aboard. He's going away.
JOHN HAGEN: You got that right. Patrol picked him up already.
CALLEIGH: I thought you needed ballistics to file on him.
JOHN HAGEN: We got ballistics. He shot someone else after we cut him loose.
CALLEIGH: I thought you were going to watch him.
JOHN HAGEN: We did. He got into a beef with a street-level dealer; grabbed his
gun and put two rounds in him before our guys could get out of the car.
CALLEIGH: God, I am so sorry.
JOHN HAGEN: Hey, one lowlife pops another. The streets are safer for it. Just
be glad it wasn't a taxpayer, for you and Horatio's sake.
CALLEIGH: Oh, no, that release was my call. He didn't have anything to do with
it.
JOHN HAGEN: Listen, I know you look up to the guy ...
CALLEIGH: Sure, I do.
JOHN HAGEN: I'm just saying, it's a hell of a lonely road he's walking.
CALLEIGH: Well, that's why I'm walking it with him.
(Calleigh gives Det. John Hagen the file. She turns and walks away. He watches
her go.)
CUT TO:
[EXT. MIAMI (STOCK) - DAY]
[EXT. ESCALANTE RESIDENCE - DAY]
(Horatio and Adell Sevilla walk down the path toward the Escalantes.)
ADELL SEVILLA: I don't know what we think we're going to find. We went over
the Escalante place about eight months ago. Canine units, metal detectors --
the works. Now, there's nothing inside. No hidden safes inside, and there's
nothing buried in this backyard.
(They stop in front of the barbeque.)
HORATIO: Did you check the barbecue? Seven across ... three down.
(Horatio kneels and finds the loose brick. He glances back at Adell. He
removes the brick. Inside is a metal box.)
(He removes the box and finds a bullet inside.)
HORATIO: Hmm. Golden talon ... just like the one we took out of Abby Sandoval.
(Quick flashback to: [NIGHT] A gun fires and Abby Sandoval is hit. Lorenzo
Escalante opens the driver's door and releases the car brake. He pushes the car
into the canal.)
(The car sinks under the water.)
(End of flashback. Resume to present.)
[EXT. GOLF COURSE - DAY]
(Lorenzo and Mercedes Escalante are playing golf.)
(Horatio, Adell and several officers walk up the path and pause for a moment.
Mercedes notes them there. She's not smiling. Lorenzo makes the shot and the
ball goes in the cup. He's excited about it. Mercedes laughs with him.)
LORENZO ESCALANTE: Yes! Yes! Yes!
HORATIO: (interrupts) Lock that elbow, Lorenzo.
(He looks up at them and then chuckles.)
LORENZO ESCALANTE: Well, we'll have to talk to the membership committee.
They're letting anyone in these days.
HORATIO: Speaking of which ... tell him what he's won, Adelle.
ADELL SEVILLA: It's a new kind of membership: Gated estate, private room, high
security.
HORATIO: And here's the best part: It's for life.
(Lorenzo chuckles. He looks at his wife.)
LORENZO ESCALANTE: Mercedes ... Call the lawyer. This is harassment.
ADELL SEVILLA: Take him.
LORENZO ESCALANTE: You can't do this.
(The officers step forward and handcuff him.)
LORENZO ESCALANTE: You can't do this. Mercedes ...
(The handcuffs click shut. Mercedes stares at him, part in shock at the
inevitable.)
LORENZO ESCALANTE: Mercedes. Mercedes ... (untranslated in Spanish) ...
(shouts) Mercedes! Mercedes!
(The officers lead him away.)
LORENZO ESCALANTE: (untranslated in Spanish) I'll have your jobs for this.
(Adell leaves and follows the officers.)
(Horatio and Mercedes are alone on the green.)
HORATIO: You want to take a walk?
(Horatio and Mercedes walk along the green.)
HORATIO: So what does Carl get? A pardon in four years, after you take
residency in the governor's mansion in Tallahassee?
MERCEDES ESCALANTE: Be very careful, Lieutenant Caine. False accusations can
ruin a career.
HORATIO: Mm-hmm.
MERCEDES ESCALANTE: I'd hate for that career to be yours.
HORATIO: Councilwoman ... that is a blade that cuts both ways.
(She doesn't say anything. Reporters and cameramen make their way toward the
councilwoman.)
REPORTERS: Councilwoman ... care to comment,
REPORTERS: Mrs. Escalante?
REPORTERS: Mrs. Escalante, how do you respond to this?
HORATIO: Your public awaits you.
REPORTERS: Will you continue with your reelection campaign?
REPORTERS: Would you make a statement, please?
(Horatio walks away leaving Mercedes with the reporters.)
REPORTERS: Councilwoman Escalante, do you think he did it?
REPORTERS: How will this affect your reelection campaign?
REPORTERS: Councilwoman, do you have any comment?
(She takes a breath and makes a statement.)
MERCEDES ESCALANTE: This is a tragedy. It has affected my family deeply. I
will persevere ... as I always have. Knowing that, my first responsibility is
to the good people of this community.
CUT TO:
[EXT. SALAS RESIDENCE - FRONT PORCH - DAY]
(The doorbell rings. Yelina Salas opens the door and finds Horatio on her front
porch.)
HORATIO: Hi.
YELINA SALAS: Hi.
HORATIO: Are you ... hungry for some ropa vieja?
YELINA SALAS: I already ate.
HORATIO: How about dessert?
YELINA SALAS: Finished that too.
HORATIO: Mm.
(They look at each other.)
YELINA SALAS: You should've called.
HORATIO: You're right. I have, uh ... I've been thinking about Raymond.
YELINA SALAS: I think about him every day. I don't want to go there. Too
complicated.
HORATIO: What if I were to say that you wouldn't have to go there alone?
YELINA SALAS: Do you understand what you're saying?
HORATIO: I do.
(She considers it for a moment.)
YELINA SALAS: I haven't had coffee yet.
(She turns and walks inside. Horatio steps into the house and closes the door
behind him.)
(Camera pulls away from the front door.)
FADE TO BLACK.
==========================
THE END
==========================
[Captioning Sponsored by CBS and CSI Productions Captioned by Media Access Group
at WGBH access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Do not archive this transcript without permission from the Transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
CSI: MIAMI
1X17: SIMPLE MAN
ORIGINAL AIR DATE ON CBS: 02/24/2003
TRANSCRIBED FROM DVD
Starring:
DAVID CARUSO as Horatio Caine
EMILY PROCTER as Calleigh Duquesne
ADAM RODRIGUEZ as Eric Delko
KHANDI ALEXANDER as Alexx Woods
and
RORY COCHRANE as Tim Speedle
Created by ANTHONY E. ZUIKER, ANN DONAHUE, CAROL MENDELSOHN
Starring
WANDA de JESUS as Adell Sevilla
STEPHEN TOBOLOWSKY as Assistant State Attorney Don Haffman
JOSE ZUNIGA as Carl Galaz
HOLT McCALLANY as Det. John Hagen
SOFIA MILOS as Det. Yelina Salas
RICHARD YVIGUEZ as Lorenzo Escalante
PAULA GARCES as Carmen Abregon
and
ELIZABETH PENA as Councilwoman Mercedes Escalante
Music Composed by: GRAEME REVELL
Edited by J. BENJAMIN CHULAY, A.C.E.
Production Designer: CAROLS BARBOSA
Director of Photography: MICHAEL D. O'SHEA, A.S.C.
Co-Producer: FRANK BALLOU
Co-Producer: BRUCE GOLIN
Co-Producer: LOIS JOHNSON
Producer: STEVEN MAEDA
Producer: JOE CHAPPELLE
Supervising Producer: MARK ISRAEL
Consulting Producer: ELIZABETH DEVINE
Co-Executive Producer: LAURIE McCARTHY
Co-Executive Producer: DANNY CANNON
Executive Producer: DAVID BLACK
Executive Producer: SAM STRANGIS
Executive Producer: JONATHAN LITTMAN
Executive Producer: NANCY MILLER
Written by STEVEN MAEDA
Directed by GREG YAITANES
==========================
END CREDITS
==========================
Executive Producer: JERRY BRUCKHEIMER
Executive Producer: ANTHONY E. ZUIKER
Executive Producer: CAROL MENDELSOHN
Executive Producer: ANN DONAHUE
JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CBS Productions, Inc.
Co-Starring
JESSICA DIZ as Bonia Cruz
MEL FAIR as Reporter #1
GENNA AMBATIELOS as Reporter #2
KEN GARCIA as File Clerk
STAN SELLERS as Judge (Damon) Arce
JOHN J. DALESANDRO as Reporter #3
JENNA CHEVIGNY as Reporter #4
ELLIOTT GREY as Well Manicured Attorney
Line Producer: JEAN HIGGINS
Associate Producer: GINA LAMAR
Associate Producer: SCOTT LAUTANEN
Casting by: NAN DUTTON, C.S.A. & JOHN A. AIELLO, C.S.A.
Original Casting by: ROBERT ULRICH, C.S.A., ERIC DAWSON, C.S.A., CAROL KRITZER,
C.S.A.
Story Editor: GWENDOLYN PARKER
Unit Production Manager: JEAN HIGGINS
First Assistant Director: ALLEN G. DIGIOIA
Second Assistant Directors: NANCY P. TOWNSEND
Costume Designer: MYNKA DRAPER
Forensics Consultant: JOHN HAYNES
Production Sound Mixers: DONOVAN DEAR
Script Supervisor: CLAUDIA YARMY
Special Make-Up Effects: MATTHEW W. MUNGLE / EDDIE VARGAS
Art Director: TIM BEACH
Set Decorator: CINDY COBURN-ROTH
Construction Coordinator: JOHN KERSEY
Special Effects Coordinators: GARY D'AMICO
Property Master: MIKE SEXTON / GEORGE ASHTON
Key Grip: JEFF CASE
Gaffer: JACK SCHLOSSER
Key Make-Up Artist: PEGGY TEAGUE
Key Hairstylist: TERRY ROBBINS
Camera Operator: MIKE GENNE
2ND 2ND Assistant Directors: ROBYN WILLEY
Location Manager: MICHELLE LATHAM
Costume Supervisor: BRIAN MAHON
Transportation Coordinator: BOB CAWLEY
2ND Unit: MICHAEL PHIRMAN
Colorist: GARETH COOK
Supervising Sound Editor: MATTHEW SAWELSON
Music Supervisor: JASON ALEXANDER
Assistant Editor: SCOTT LERNER
Post Production Supervisor: MICKIE REUSTER
Loop Group: THE REEL TEAM
Dialogue Editor: TODD NIESEN
ADR Editor: RUTH ADELMAN
Sound Effects Editor: BRAD KATONA
Re-Recording Mixers: YURI REESE / BILL SMITH
Music Editor: ASHLEY REVELL
Visual Effects Supervisors: LARRY DETWILER / MARC LEIDY
Digital Effects by STARGATE DIGITAL
Computer Playback and Graphics by E=MC2
High Definition Post Production by ENCORE
Film Laboratories by FOTOKEM
Post Production Sound Provided by TODD STUDIOS
Filmed at EL SEGUNDO STUDIOS
"Won't Get Fooled Again"
by Pete Townshend
Performed by The Who
The persons and events portrayed in this film are fictitious. Any similarity to
actual persons, living or dead, or any events is unintentional.
(c) 2003 CBS Worldwide Inc., and Alliance Atlantis Productions, Inc. All Rights
Reserved.
CBS Broadcasting Inc, and Alliance Atlantis Productions Inc, are the authors of
this program for the purposes of copyright and other laws.
Dated:11/02/2004~lky
http://www.webphilia.com/~anthology/wnp.htm